This blog has been long in need of a revamp. Doing things solo can only get you so far and I’ve been fortunate enough in life to have friends who share my love of books and who, more specifically, love science fiction and fantasy. So, the TL;DR of this post is: I have a partner now and the site is revamping! <queue applause>
Who is this new dude?
Jacob Torres and I have been friends for almost a decade. We’ve been through ups and downs and have many things in common, but one of the biggest highlights of our friendship has been our shared love of all things geeky and most things bookish. I’m so glad to welcome him. But, I’ll let him introduce himself.
Hi, folks of the internet! Like Bree said, I’m Jacob and I have a lifelong love of all things SciFi, Fantasy, and in between. Be it Movies, TV, Games (Video and Board), or most of all books. I’m happy Bree and I have decided to start doing this together so I can have an outlet for some of the many thoughts I have on the genre. I’m also a big tea nut. Hence this new branding is a match made in heaven. You can find more about me if you need more in our refurbished “Who Are We” section. Now back to Bree!
What are we going to see now?
First and foremost, you’ll see that the name of the blog has changed. About three years ago, Jacob and I started joking that we’d have a tea and bookshop filled with cats as a retirement plan. That plan is still underway, but we decided a while ago to call it “Low Tea Books” — because who needs classy when you can just have tea, cats, and books, right? We’ve kept the name and started early with this blog.
Comment for a chance to win! Giveaway closes 3/15 at midnight CST. US addresses only
Mary Robinette Kowal’s Forest of Memory is a new Tor.com novella that (according to my .pdf reader) is about 50 pages. It also happens to be great to read while you soak your feet (which may or may not be how I read it). It chronicles the mysterious and unconfirmed week of a young woman who had gone missing.
The story is told from a first person perspective. The narrator, Katya, is a young woman who deals in antiquities, artifacts from previous years that show their wear. She goes up to look at a fairly rare find, a manual typewriter and dictionary, and is waylaid on her way home by a stranger who appears to be shooting—poaching? meddling with?— deer in the forest. She almost runs into the deer, but when the stranger notices her, he kidnaps her.
The story is fun for a number of reasons. The narrator is unreliable; it’s filled with intrigue; and you find yourself just wanting to know what in the world is going on.
It’s set in a future where people are constantly in touch with one another. People live stream everything. The narrator is particularly well known for this, because the authenticity and story that goes along with the items is as valuable, if not more, than the item itself. The very idea that someone could go missing and show up on the other side of the country without anyone knowing is basically unfathomable.
This brings into question a lot of different topics, like whether you can count on an individual’s memory, how interconnected we are, whether you can really have something be valid and authentic without “proof.” Kowal takes an, at times, round about way of talking about these issues, but the overall impact is no less effective.
The story is suspenseful and entertaining. There are moments where it can be slow, but this is often a good change of pace from the more tense moments of the book. The narrator is likeable, if unbelievable.
This was a pretty perfect evening-in book. Kowal managed to make an interesting world with a captivating plot that leaves you just wanting more. Better yet, she did it all in a story you can read in a sitting.
A big thanks to Tor.com for providing me with a copy of Forest of Memories in exchange for an honest review.
If you were looking for a fantasy/science fiction mash up, look no further. Charlie Jane Anders’ new novel, All the Birds in the Sky has you covered, and it’s pretty great.
The story follows two main characters, Patricia, a witch, and Laurence, a computer genius. Patricia and Laurence’s relationship ebbs and flows, but one thing seems to haunt them, especially Patricia; the two of them have been foreseen at the end of the world.
There’s a lot to like about this story, but I’ll start with the one that struck me first: the humor. Anders’ story is rife with the kind of self-aware humor that pokes fun at itself and the genre. Guilds of assassins, secret orders, and talking animals are all used with a bit of tongue-in-cheek humor that had me laughing out loud and tabbing pages for the first time in a long while.
But, the story engages in a more serious talk as well about what it’s like to be an outsider, how easy it can be to be misled, and the balance between the fantastic, the scientific, and the radical on all sides.
The character building in the story is well-done. The story follows both Patricia and Laurence from childhood to adulthood, with all the rockiness that entails (skipping the awkwardness of high school and college). Most impressive in this was the establishment of trust in their relationship and the ways it would break down. Both characters are flawed and have their own histories from their years apart. This leads to a lack of trust, sometimes for unwarranted reasons. While some of the moments that result can seem a bit cliché, both characters are very human in their response.
The story also features some crazy plot developments and battles with side characters well-equipped to make things both better and worse, including an AI called CH@NG3M3. While it has more of a contemporary love story kind of feel, it also doesn’t shy away from mystery and actions. Overall, there’s a lot to love.
Charlie Jane Anders is the editor in chief of io9.com and the organizer of the Writers With Drinks reading series. Her stories have appeared in Asimov’s Science Fiction, The Magazine of Fantasy & Science Fiction, Tor.com, Lightspeed, Tin House, ZYZZYVA, and several anthologies. Her novelette “Six Months, Three Days” won a Hugo award.
Self-published stories aren’t a terribly new convention. People have been paying to have their works released for a long time. But, with the advent of the internet and the widely available platform for author promotion and creation, self-publishing has become a common way for authors to get their works into readers’ hands.
I won’t lie. I have some pretty mixed feelings about the widespread use of self-publishing, mostly that for me it often becomes overwhelming to even glance in the way of self-published authors. The mountain of works simply is so hard to sift through that I often don’t tread very close.
However, there are some fantastic self-published works available online.
The Martian, Wool, A Long Way to a Small Angry Planet.
The standouts in self-publishing show that the publishing method isn’t necessarily reflective of the quality of work.
So, how do we accommodate self-publishing in our awards?
The Martian by Andy Weir is very highly regarded. It’s a well loved story with fans coming out its ears. But, to many SFF lovers’ surprise, it wasn’t eligible to be nominated for the Hugo Award in 2014 when it was picked up for publishing by Crown Publishing. The book had previously been self-published and without heavy revisions would not have been eligible. Crown decided to publish the book very much as-is, leaving the work ineligible and retaining its 2011 publication date.
The problem in awards is multifaceted. By and large, I think it comes down to a few issues: exposure, inundation, and gatekeeping.
Self-published authors are often the sole marketers for their books. They are the ones who are responsible for sending out review requests, getting the book available, and making sure the book is in the eyes of buyers, all while having to write, edit, and design the book. This is extremely difficult without the web of connections that many publishing houses have.
On top of all this, many readers continue to go to traditional publishers for their books and for those who may be open to smaller press or self-published works, the lack of in-store browsing ability and the difficulty in making your story available in online suggestion algorithms proves a big barrier.
In the event that a reader does manage to find their way into the self-pubbed section of Amazon, or Kobo, or whatever platform they may be using, there are so many self-published works that standing out may prove difficult. Not impossible, surely, but hard to do, especially without an existing strong following.
So, what do we do with self-published works that are deserving of awards?
This is the part where gatekeeping comes in.
Currently, the big awards in SFF (not to mention the broader literary community) are difficult to break into and not structured well for self-published authors.
Often, awards are either chosen by panel, or through a fan or membership nominating system. This leaves self-published works out of the loop. Nominating systems for panel awards often require submission by a publisher, and membership and fan nominating systems tend to still require the same-year publication date requirement, which often isn’t enough time for a popular self-published work to “break out,” and clumps those books together with traditionally-published novels, which have significantly more budget and reach.
Again, here I feel conflicted.
Something about this seems so unfair, as though the cards are stacked against self-published works. However, extending deadlines makes eligibility for self-published works opens up the door to complaints that the work isn’t being judges with its peers or that the system is unfair in the opposite way.
The Hugos did recently propose extending eligibility for books not originally published in the US. This wasn’t overly controversial, so maybe I’m worrying over nothing. I can’t imagine people denying the difficulties in publishing and promoting a book on your own.
But, maybe the Kitschies have it right, but by thee token, a digitally native category implies that self-pubbed can’t compete with traditionally published works in content quality.
There’s a “Digitally Native” category there that seems to have served well. The Kitchies is a panel award, though, so I wonder how that would play in to a fan or membership system.
Regardless, something has to change in order for the community to recognize the self-published works that can blow us out of the water.
What do you think? What rules changes or category additions would best serve this purpose?
Giant robots? Check
International conflict and clandestine military operations? Check
Sylvain Neuvel’s novel follows a secret military operation to uncover mysterious pieces of a device. Told in interview transcriptions, the story records a search to find the pieces of and assemble a large mysterious statute that seems to expel large quantities of electricity and nuclear energy. The interviews span a number of persons working on the project including pilots, scientists, the director of the NSA, and are all hosted by an unnamed man masterminding the work.
The characters are interesting, though the format means they are very distant. There is some development, but also a sense of superficiality. While I wanted to like them, it was hard to do so, especially when the main foci are fairly closed off and abrasive. They grow more confidential during the interviews, perhaps uncommonly so, all things considered, but overall some is left wanting.
The plot is fast-paced. It follows the creation of the clandestine operation, many things going awry, and its initial conclusion. The story is a bit truncated. You don’t see the characters in action often. You see the fallout of things that have happened instead. This was sometimes done well, particularly during the aftermath and recounting of some major events. The characters’ immediate reactions are ignored in lieu of a bit more reflective recounting. This was interesting to read about.
The story also skips around quite a bit. This can be a bit disconcerting when you consider that there isn’t a timestamp on any of the transcripts. It could be a bit hard to follow, but did quicken the reading experience.
One of the things I enjoyed most about the story was the complexity of the mastermind’s thoughts. While you didn’t see it at first, there’s a lot that comes together in an “ah-ha” moment towards the end. Some of the story was a bit done before, but that was engaging.
This won’t be my favorite story of the year, but it’s an engaging, fast read.